Why Does the EU Insist on Provoking the Man Who Underwrites its Security?

The European Union likes to consider itself to be a much more ‘grown up’ and ‘adult’ institution than other, far inferior and less sophisticated establishments of governance and their more directly-elected, and thus ‘populist’, representatives around the world. Such regrettable qualities are supposedly today embodied in direct gammon-like fleshly human form by the America’s current red baseball cap-wearing, Diet Coke-guzzling President, Donald J. Trump: the EU thinks the “J” there stands for ‘Juvenile’.

You’d never see classic well-developed Europhiles like Wes Streeting or Peter Mandelson grabbing any pussies, and in order to demonstrate just how much more mature they are than Donald, as already previously reported on this website, MEPs last week unveiled a deliberately obscene giant, gold-plated statue of an obese and naked version of the gilded Yankee President in a busy lobby in the European Parliament Building in Strasbourg, so that passing 55 year-old Eurocrats could point at it on their way to meetings and go ‘Hahaha, fatty!’ Who, precisely, were the guilty individuals behind this calculated insult, and what does the whole pathetic event reveal about their psychology? That they are the true infants at work here, not the plump POTUS at all.

Statue of limitations

The egregious effigy, called The Orange Plague, is 8.5ft-tall, and shows a wobbly Trump piggybacking atop the sagging shoulders of a much thinner and smaller man made of browner bronze; this fact hasn’t been widely commented upon, but the choice of material here clearly makes the lower-down, subordinate figure appear to be black. Hence, it is intended as a kind of artistic blood-libel against white Europeans. Text on the plinth, imagined as spewing forth either from Trump’s mouth or his exposed anus, reads: “I am sitting on the back of a man. He is sinking under my burden. I will do anything to help him. Except stepping down from his back.” So, the incredibly blunt, agitprop-style message is clear: Trump is exploiting the world and, by extension, the wealthy (indeed, positively golden) white West which he leads is exploiting miserable, dung-hued Africa too.

The piece’s Pygmalion is Danish sculptor Jens Galschiøt, who is white, but probably wishes he wasn’t, as white men have indisputably caused all the planet’s greatest problems, ever, up to and including that of our imminent threatened climate-collapse. Jens has explained how his piece shows that “Trump represents one of the greatest threats to the rule-based world order, democratic values and our common effort to solving the climate crisis”. In fact, on his website, Galschiøt grandly portrays public exhibition of his masterpiece as somehow saving the entire world:

Nations as well as NGOs are afraid to openly raise the subject on how to deal with Trump and his policies, fearing tariffs, fund-cuts, deportations or the like. As an independent art workshop we are not restricted by such bonds. This sculpture has been made to address ‘the elephant in the room’ and start a necessary debate of how the US is destroying the world’s only chance to counter the climate catastrophe and a debate on how stand up against him.

Like so many ‘artists’ these days, Galschiøt really just imagines himself to be a revolutionary campaigner, 3D-printing 10,000 mini-statues to distribute to EU delegates to help spread his message that Trump is murdering the planet (the orange crests are supposed to be Trump’s dyed hair, not a Hugo Chávez-style revolutionary beret). You can print then burn your own from the free online file here.

Trump’s grotesque nudity explicitly references Galschiøt’s fellow Dane Hans Christian Andersen and his famous fable of The Emperor’s New Clothes, implying nobody has the guts to tell POTUS his policies are wrong. Invoking The Emperor’s New Clothes in relation to the subject of climate change suggests Galschiøt does not have a terribly well-developed sense of irony. If you’re going to invoke that old parable, the true politician depicted as imposing a heavy and uncarryable burden upon the renewables-crippled continent should be Al Gore, but perhaps the site of him dropping his polar bear-patterned underpants and getting naked with an Ethiop would just break the 3D-printer.

Or maybe the actual politician depicted should be Angela Merkel? The Orange Plague was based – virtually self-plagiarised, really – upon an earlier and extremely similar 2002 work of Galschiøt, Survival of the Fattest, depicting an incredibly overweight white Western woman who does eerily resemble Germany’s future first German Chancellor, dangling her dugs heavily down across the shoulders of a starving black African, whose ribcage protrudes like a stereotypical famine victim. In Galschiøt’s classically Left-wing, self-hating description:

The sculpture portrays the imbalanced distribution of the world’s resources, where the rich live comfortably and oppress the poor by means of a biased and unjust global trade system. A discriminatory trade policy is enforced to keep the impoverished countries out of competition.

In simpler terms, ‘It’s not corrupt African governments’ fault their own people are poor, it’s all that of distant white capitalist wreckers!’ Tell that to Bob Mugabe or the truly obese African figure (because he kept on eating his seasoned countrymen) of Idi Amin. Such crude anti-white ethnic caricatures are presented as being ‘daring’ and ‘radical’, yet are really anything but, acting merely to reinforce the same decades-old Lefty prejudices of the desiccated EU ruling-class: chiefly, prejudice against anything which is actually European, primarily the white European race itself. If Galschiøt had dared carve a sculpture showing the genuine Angela Merkel, but positioned on the bottom, not the top, of the composition, collapsing to the floor beneath carrying the financial and social dead-weight of all those millions of well-bronzed fake Syrian and Afghan ‘refugees’ she unilaterally invited into Europe in 2015, the bronze would have been impounded as a racial hate-crime.

Exhibit gay

The EU has a past history of displaying ‘iconoclastic’ artworks upon its property, which are nothing but excuses for puerile Left-wing trolling of conservatives, as best summed up by this 2023 headline from UK queer website Pink News:

As was said at the time, they wouldn’t do that to Muhammad – and not only because you’re not allowed to paint any pictures of him anyway, gay or otherwise.

Of course, principles of freedom of speech and expression rightfully dictate artists should be able to create whatever ‘artworks’ they like, even feeble drivel like the above. Knock-off mini-Galschiøts have been churning out their own guerilla statues of Trump to mock the man for years, as with this one deriding him as a sex-offender erected overnight in Philadelphia in 2024.

Yet a political institution like the EU lending its official imprimatur to such items is quite different; this is a calculated geopolitical insult against the leader of a nation whose military does more to protect Europe than Europe itself does, an irresponsibly parasitic situation which has been continuing since the end of the Cold War. Slovakian leader Robert Fico, a rare Brussels non-Euro-Commie, summed it up well:

The EU’s weaselly pretence is that The Orange Plague is not an official attitude statement upon its own behalf, as Fico complains, with its rolling programme of temporary art-displays in fact approved for it by a wholly independent group of parliamentary ‘quaestors’. If that was really true, though, then why do almost all the politically controversial displays staged by Brussels and Strasbourg ‘coincidentally’ happen to display such uniform Left-wing groupthink?

Do they seriously expect us to believe that if some brave dissident unveiled a genuinely controversial statue relating to foreign or racial politics, such as one depicting Nelson Mandela as a chimp in a suit, or Xi Jinping as Fu Manchu, they would still allow it to stand? (To his credit, Galschiøt has actually made a statue criticising the Chinese Communist Party in the past, but I don’t think the EU has ever displayed that on its premises; otherwise, Xi might call all his Eurobonds in.) EU art-rules specifically forbid exhibitions “contradictory to the values on which the Union is founded”, but in practice that just means invited artists will only ever end up promoting anti-white, anti-American, pro-Green, pro-Third World, liberal ones.

The art of diplomacy

The specific individual who invited Galschiøt to lay his plinth-turd, Red-Green Alliance eco-socialist Danish MEP Per Clausen, is an extreme Leftist who said in mitigation of his efforts that:

I know some people think we shouldn’t provoke Trump and therefore shouldn’t exhibit a sculpture like this. To them, I have to say two things. First, we cannot accept living in fear and self-censorship. Second, if someone is so thin-skinned that they cannot tolerate this sculpture being exhibited in the European Parliament, then they have no place on the world stage.

Per’s opinions upon his fellow Leftist MEP Rima Hassan, who in the very same week the Trump statue was unveiled proved so thin-skinned she attacked and vandalised a rival EU Parliament display memorialising the victims of Hamas’s October 7th attacks against Israel are, of course, not known. If white Europeans really “cannot accept living in fear and self-censorship”, when are you going to start campaigning to kick all the Muslims like Rima out, Per?

Clausen has a past record of hating Donald Trump, such as basically calling him a dictator or “a bully in the schoolyard” and more-or-less saying the President wants to invade Greenland with the US Army. More realistically, Trump wants secure military bases to protect NATO territory (primarily America’s own, but also European soil) from potential targeting with Russian or Chinese missiles, even if his chosen blustering strong-arm methods of going about this leave something to be desired, to say the least.

Are actual EU nations capable of countering this missile-threat themselves, alone, though? No. Yet they decide to publicly insult the man who is aiding them in this way for no good reason other than to vaingloriously pose as Che Guevara with a Fine Arts degree. Earlier this year, Galschiøt’s figurine was even displayed proudly at the Munich Security Conference – European politicians inviting American delegates to attend, requesting them not to withdraw their troops from EU soil, then basically calling their Commander-In-Chief a big fat African-murdering dickhead does not seem like the age-old polished Mitteleuropean diplomacy of Metternich in action.

These spoiled and ungrateful Brussels trustafarians are not the planet’s political ‘grown-ups’, as they like to pretend, but perpetual spoiled children who badly need to be taught a lesson by daddy. Outside the sheltered walls of the EU kindergarten, these are dangerous times for Europe. To the East, Russian forces continue to wage war in Ukraine and threaten to cut sub-surface power and communications cables beneath the continent’s seas. To the south, the entire region is being invaded on a daily basis by Africa and Islam. Within, recklessly imported internal enemies burn schools all over France and attempt to sabotage UK airbases. And, ignoring it all, the EU points at its chief outsider protector and calls him Mr Blobby.

In revenge, Trump  – a man not noted for his ability to tolerate insults – should now unveil a rather different statue of himself outside the entrance to the Pentagon. Entitled, with a nod to Kipling, The Orange Man’s Burden, it would show a struggling Donald, dressed as Uncle Sam, wheezing along, trying desperately to carry freeloading self-entitled EU toddlers like Friedrich Merz and Emmanuel Macron on his back, whilst they relax and light cigars with stolen US tax-dollars, rather than spending it on their atrophied militaries and defending their own borders like they’re supposed to. And then, once he’s unveiled it, announce the US is immediately pulling out of NATO.

Within a matter of hours, in desperate supplication, the EU will have melted down their present fat golden calf, replacing it with another one depicting Donald as God Almighty, I guarantee it.

Steven Tucker is a journalist and the author of over 10 books.